Arts & Entertainment
Gay high holy day
Madonna brings ‘MDNA Tour’ to D.C.
It sounds silly to say unless you were there, but Madonna’s show at the Verizon Center in D.C. last night — her first shows here since 2004 — felt like a wild mix of gay church, homecoming and an eye-popping musical extravaganza that, at times, rivaled a Cirque du Soleil production in scale, scope and special effects.
Though barely anyone sat down the whole night, when the lights came up for a fourth quarter sing-along to “Like a Prayer,” there was an energy and fervor in the room that felt positively spiritual. It wasn’t so much, for me anyway, about the musicianship of the moment. I even winced a time or two at the thin vocals (she deserves credit for singing it live, though!), but that didn’t feel to me the point. In an arena full of what appeared to be about 70 percent gay men, the “Prayer” singalong felt more like a celebration of everything Madonna has always represented — you can be spiritual, intelligent, gay and have fun. And — projecting and paraphrasing of course — the stodgy old anti-gay gatekeepers of the Roman Catholic church, don’t think for a minute it’s their way or nothing. Yes, they’re onto something powerful and timeless, but they’re not the gatekeepers.
Sure, this isn’t a new thing by any means — Madonna has been using religious imagery to powerful concert effect at least since the “Blonde Ambition Tour,” but somehow this time out, it had a freshness and impact that totally worked. Arriving on stage in a confessional booth in one of her best tour entrances ever, this was an evening that brought with it redemptive powers. It’s also one of her best tours in ages — true, a Madonna show is never a bad show, but the arrangements, mix of old and new and staging, not to mention the flawless execution last night by all involved, has a hypnotic effect that can’t be fully conveyed. She plays another D.C. show tonight. Tickets are still available.
Almost everything worked in the expertly paced two-hour show. A pleasant surprise, considering her last few tours, was how faithful some of the arrangements were on the old hits. After having reworked “Vogue,” “Holiday,” and “Like a Prayer” so radically on outings’ past, it was great to hear them in near-original form for a change this time. While some of her re-imaginings other times have been amazing — I loved the gypsy/mariachi take on “La Isla Bonita” last time — this backfires as often as it works.
Last night’s percussion-heavy reworking of “Open Your Heart” was just so-so and a loungy, torchy “Like a Virgin” failed to pick up any heat, but thankfully there were enough faithful interpretations of other songs to make things largely effective overall. Second-tier, and more recent semi-hits, like “Revolver” and “Celebration” from her last hits collection, were unexpected surprises. And with “Papa Don’t Preach” and “Express Yourself” included as well, there wasn’t the slightest feeling Madonna was being stingy with the hits. They blended very well with material from her excellent new album. Some of the most effective moments of the evening were new songs like a blistering “I Don’t Give A” and an intensely satisfying “I’m Addicted.”
The band, sets, dancers, choreography, video montages and special effects were all super top-notch. And yes, there was a slight sense that for perhaps the first time, she left most of the tricky dance steps to the troupe, not always joining right in as she has in other tours. I noticed it, but it didn’t dampen the proceedings.
A lot has been made of the Tarantino-esque violence of the first quarter shooting rampage that accompanies “Girl Gone Wild” and “Gang Bang.” It was intense — blood splattering across arena-size monster jumbo screens is a jolt for sure — but it felt more cartoonish and campy than literal or disconcerting to me. In an evening where everything was writ as large as possible, it felt, to me, just one more piece of a broad emotional collage. One appreciates light much more after great darkness.
Even when there’s a song or two that aren’t what you would have picked — did we really need “Human Nature” again, for instance? — or an arrangement or two that left you cold, all that really is quibbling. Madonna never phones it in, never takes the easy route, never — even with a generous bounty of ’80s hits in the mix — feels like she’s a nostalgia act stuck in another era. Her live vocals — typically the calling card for a concert — are not her long suit, but to get too hung up on that is to miss the point entirely. Yeah, it’s always fun to see great legends in concert, but so many of them are on the gravy train and plow through their hits like they’re crossing off a grocery list. Madonna’s insistence on keeping it fresh even after all these years, remains an awe-inspiring thing.
More than 40 openly LGBTQ athletes are expected to compete in the Milan Cortina Winter Olympics that open on Friday.
Outsports.com notes eight Americans — including speedskater Conor McDermott-Mostowy and figure skater Amber Glenn — are among the 44 openly LGBTQ athletes who will compete in the games. The LGBTQ sports website also reports Ellis Lundholm, a mogul skier from Sweden, is the first openly transgender athlete to compete in any Winter Olympics.
“I’ve always been physically capable. That was never a question,” Glenn told Outsports.com. “It was always a mental and competence problem. It was internal battles for so long: when to lean into my strengths and when to work on my weaknesses, when to finally let myself portray the way I am off the ice on the ice. That really started when I came out publicly.”
McDermott-Mostowy is among the six athletes who have benefitted from the Out Athlete Fund, a group that has paid for their Olympics-related training and travel. The other beneficiaries are freestyle skier Gus Kenworthy, speed skater Brittany Bowe, snowboarder Maddy Schaffrick, alpine skier Breezy Johnson, and Paralympic Nordic skier Jake Adicoff.
Out Athlete Fund and Pride House Los Angeles – West Hollywood on Friday will host a free watch party for the opening ceremony.
“When athletes feel seen and accepted, they’re free to focus on their performance, not on hiding who they are,” Haley Caruso, vice president of the Out Athlete Fund’s board of directors, told the Los Angeles Blade.
Four Italian LGBTQ advocacy groups — Arcigay, CIG Arcigay Milano, Milano Pride, and Pride Sport Milano — have organized the games’ Pride House that will be located at the MEET Digital Culture Center in Milan.
Pride House on its website notes it will “host a diverse calendar of events and activities curated by associations, activists, and cultural organizations that share the values of Pride” during the games. These include an opening ceremony party at which Checcoro, Milan’s first LGBTQ chorus, will perform.
ILGA World, which is partnering with Pride House, is the co-sponsor of a Feb. 21 event that will focus on LGBTQ-inclusion in sports. Valentina Petrillo, a trans Paralympian, is among those will participate in a discussion that Simone Alliva, a journalist who writes for the Italian newspaper Domani, will moderate.
“The event explores inclusivity in sport — including amateur levels — with a focus on transgender people, highlighting the role of civil society, lived experiences, and the voices of athletes,” says Milano Pride on its website.
The games will take place against the backdrop of the U.S. Olympic and Paralympic Committee’s decision to ban transgender women from competing in women’s sporting events.
President Donald Trump last February issued an executive order that bans trans women and girls from female sports teams in the U.S. A group of Republican lawmakers in response to the directive demanded the International Olympics Committee ban trans athletes from women’s athletic competitions.
The IOC in 2021 adopted its “Framework on Fairness, Inclusion and Nondiscrimination on the Basis of Gender Identity and Sex Variations” that includes the following provisions:
• 3.1 Eligibility criteria should be established and implemented fairly and in a manner that does not systematically exclude athletes from competition based upon their gender identity, physical appearance and/or sex variations.
• 3.2 Provided they meet eligibility criteria that are consistent with principle 4 (“Fairness”, athletes should be allowed to compete in the category that best aligns with their self-determined gender identity.
• 3.3 Criteria to determine disproportionate competitive advantage may, at times, require testing of an athlete’s performance and physical capacity. However, no athlete should be subject to targeted testing because of, or aimed at determining, their sex, gender identity and/or sex variations.
The 2034 Winter Olympics are scheduled to take place in Salt Lake City. The 2028 Summer Olympics will occur in Los Angeles.
Theater
Out dancer on Alvin Ailey’s stint at Warner Theatre
10-day production marks kickoff of national tour
Alvin Ailey American Dance Theater
Through Feb. 8
Warner Theatre
513 12th St., N.W.
Tickets start at $75
ailey.org
The legendary Alvin Ailey American Dance Theater is coming to Washington’s Warner Theatre, and one of its principal veterans couldn’t be more pleased. Out dancer Renaldo Maurice is eager to be a part of the company’s 10-day stint, the kickoff of a national tour that extends through early May.
“I love the respectful D.C. crowd and they love us,” says Maurice, a member of esteemed modern dance company for 15 years. The traveling tour is made of two programs and different casting with Ailey’s masterwork “Revelations” in both programs.
Recently, we caught up with Maurice via phone. He called from one of the quiet rooms in his New York City gym where he’s getting his body ready for the long Ailey tour.
Based in North Newark, N.J., where he recently bought a house, Maurice looks forward to being on the road: “I enjoy the rigorous performance schedule, classes, shows, gym, and travel. It’s all part of carving out a lane for myself and my future and what that looks like.”
Raised by a single mother of three in Gary, Ind., Maurice, 33, first saw Alvin Ailey as a young kid in the Auditorium Theatre in downtown Chicago, the same venue where he’s performed with the company as a professional dancer.
He credits his mother with his success: “She’s a real dance mom. I would not be the man or artist I am today if it weren’t for the grooming and discipline of my mom. Support and encouragement. It’s impacted my artistry and my adulthood.”
Maurice is also part of the New York Ballroom scene, an African-American and Latin underground LGBTQ+ subculture where ball attendees “walk” in a variety of categories (like “realness,” “fashion,” and “sex siren”) for big prizes. He’s known as the Legendary Overall Father of the Haus of Alpha Omega.
WASHINGTON BLADE: Like many gay men of his era, Ailey lived a largely closeted public life before his death from AIDS-related complications in 1989.
RENALDO MAURICE Not unusual for a Black gay man born during the Depression in Rogers, Texas, who’s striving to break out in the industry to be a creative. You want to be respected and heard. Black man, and Black man who dances, and you may be same-sex gender loving too. It was a lot, especially at that time.
BLADE: Ailey has been described as intellectual, humble, and graceful. He possessed strength. He knew who he was and what stories he wanted to tell.
MAURICE: Definitely, he wanted to concentrate on sharing and telling stories. What kept him going was his art. Ailey wanted dancers to live their lives and express that experience on stage. That way people in the audience could connect with them. It’s incredibly powerful that you can touch people by moving your body.
That’s partly what’s so special about “Revelations,” his longest running ballet and a fan favorite that’s part of the upcoming tour. Choreographed by Alvin Ailey in 1960, it’s a modern dance work that honors African-American cultural heritage through themes of grief, joy, and faith.
BLADE: Is “Revelation” a meaningful piece for you?
MAURICE: It’s my favorite piece. I saw it as a kid and now perform it as a professional dance artist. I’ve grown into the role since I was 20 years old.
BLADE: How can a dancer in a prestigious company also be a ballroom house father?
MAURICE: I’ve made it work. I learned how to navigate and separate. I’m a principal dancer with Ailey. And I take that seriously. But I’m also a house father and I take that seriously as well.
I’m about positivity, unity, and hard work. In ballroom you compete and if you’re not good, you can get chopped. You got to work on your craft and come back harder. It’s the same with dance.
BLADE: Any message for queer audiences?
MAURICE: I know my queer brothers and sisters love to leave with something good. If you come to any Ailey performance you’ll be touched, your spirit will be uplifted. There’s laughter, thoughtful and tender moments. And it’s all delivered by artists who are passionate about what they do.
BLADE: Alvin Ailey has been a huge part of your life. Thoughts on that?
MAURICE: I’m a believer in it takes a village. Hard work and discipline. I take it seriously and I love what I do. Ailey has provided me with a lot: world travel, a livelihood, and working with talented people here and internationally. Alvin Ailey has been a huge part of my life from boyhood to now. It’s been great.
Catfish Comedy will host “2026 Queer Kickoff Show” on Thursday, Feb. 5 at A League of Her Own (2319 18th Street, N.W.). This show features D.C.’s funniest LGBTQ and femme comedians. The lineup features performers who regularly take the stage at top clubs like DC Improv and Comedy Loft, with comics who tour nationally.
Tickets are $17.85 and can be purchased on Eventbrite.
-
National5 days agoFederal authorities arrest Don Lemon
-
Florida5 days agoAIDS Healthcare Foundation sues Fla. over ‘illegal’ HIV drug program cuts
-
a&e features5 days agoD.C. LGBTQ sports bar Pitchers listed for sale
-
China5 days agoTwo Chinese men detained over AI-generated picture of pandas engaging in same-sex behavior



